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FEMMAGE and the DIY MOVEMENT: FEMINISM, CRAFTY WOMEN, and the POLITICS of GENDER PERFORMANCE Rosemary L University of New Mexico UNM Digital Repository American Studies ETDs Electronic Theses and Dissertations 7-1-2016 FEMMAGE AND THE DIY MOVEMENT: FEMINISM, CRAFTY WOMEN, AND THE POLITICS OF GENDER PERFORMANCE Rosemary L. Sallee Follow this and additional works at: https://digitalrepository.unm.edu/amst_etds Recommended Citation Sallee, Rosemary L.. "FEMMAGE AND THE DIY MOVEMENT: FEMINISM, CRAFTY WOMEN, AND THE POLITICS OF GENDER PERFORMANCE." (2016). https://digitalrepository.unm.edu/amst_etds/48 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in American Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i Rosemary L. Sallee Candidate American Studies Department This dissertation is approved, and it is acceptable in quality and form for publication. Approved by the Dissertation Committee: Rebecca Schreiber, Ph.D. Associate Professor, American Studies, University of New Mexico Michael L. Trujillo, Ph.D. Associate Professor, American Studies, University of New Mexico Ronda Brulotte, Ph.D. Associate Professor, Anthropology, University of New Mexico Joyce Ice, Ph.D. Director, Museum of Art, West Virginia University ii FEMMAGE AND THE DIY MOVEMENT: FEMINISM, CRAFTY WOMEN, AND THE POLITICS OF GENDER PERFORMANCE BY ROSEMARY L. SALLEE A.B. American Culture, Vassar College, 1992 M.A. American Studies, University of New Mexico, 2003 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy American Studies The University of New Mexico Albuquerque, New Mexico July 2016 iii ACKNOWLEDGEMENTS I must first thank my stalwart committee, Rebecca Schreiber, Michael Trujillo, Ronda Brulotte and Joyce Ice, for your endurance, patience, and insight through this journey. You stuck with me through the birth of two children, a move across the country, neurosurgery, the IRB process, and several job changes. Your professionalism, accessibility and concern sustained me. I offer my warmest thanks to my New Mexico friends, especially Hollie, Robert and Mira Hohlfelder for the lodging and companionship, and Andria Liesse, one of the most creative women I know, for the logistical help and wisdom. Thank you to Earl and Jess Lawrence and especially Kary Myers for the girls’ nights out and the good gossip, a drinking buddy when I was on my own in New Mexico. Thank you to some of my oldest friends, Robin Hemenway and Sarah Purcell, for the helpful advice and encouragement -- how lucky I was to grow up with friends who turned out to be fellow American Studies practitioners! My deepest thanks to my colleagues and classmates who inspired and commiserated with me, including the talented scholar, knitter and weaver Cynthia Martin, Micaela Seidel, and Beth Swift. I gratefully acknowledge Leslie Dotson VanEvery, a master crafter whose enthusiasm for design and material culture has inspired me for more than twenty years. Leslie, I think you should be writing this, not me. My singular thanks to Adam Stone for the encouragement early on, not to mention the many meals, road trips, mountaineering adventures, kitchen gifts, deep fried treats, cocktails, catch phrases and boating trips, and to Jeanine Sidran who became his better half. To my good friends in the DC area, Lisa and Randy Becker, Jennifer Lewis, Aron Greenberg, Tracy Sullivan, Ashley and Adam Davis, and Matt and Heather Cronin for the fellowship, child care, and discussions about politics, creativity, and culture. Thanks to Karen Beck, an accomplished knitter, for the excellent career advice and assistance in transitioning to the east coast culture. My deepest gratitude to the wonderful people at the museums where I had the good fortune to work: Joyce Ice, Tey Marianna Nunn, Jacqueline Duke, Polina Smutko, Felicia Katz-Harris, and Renee Jolly, you all showed me how material culture can tell a story, and shaped my ideas about the nature of modern iv folklife. You were my inspiration in pursuing my own vision; I feel so fortunate to have had you as mentors and guides. And to Laura Lovejoy-May, Aurelia Gomez, Marian Fogarty and Deborah Garcia who were wonderful and encouraging coworkers. Thanks to National Park Service friends and staff, especially Susan Chumley, another accomplished knitter, John Fowler, Katie Durcan, Laura Bray, and Kim Robinson. I also thank the Library of Congress folks who saw me through the final phases: my boss, Nancy Lev-Alexander, Ashley Greek, Jim Thurn, Annie Immediata, and multi-crafter Renaissance woman Emma Esperon. I recognize the staff of the Fairfax County library system and George Mason University Library for making their resources accessible. I thank the UNM Graduate Resource Center and its staff for the writing seminars and support. I also offer my heartiest thanks to the UNM American Studies administrator, Sandy Rodrigue, who made a long-distance field work and dissertation completion possible. Sandy, you are probably thanked in more dissertations than almost anyone else on campus. How lucky we are to have you. To Dr. Christina Go and the doctors and staff of the UVA Pituitary Research Center, including Edward Oldfield, Mary Lee Vance, and team, this truly would not have been possible without your care. Thank you for giving me back my brain (such as it is!). To all of my extended family, who never once called me crazy, and to my wonderful mother in law, Jane Wiedlea Koehler, for setting a wonderful example of second wave feminism at its best! I am ever in awe of your intellectual curiosity and critical thinking skills. I thank the beautiful and vibrant Wiedlea sisters, Ada and Lillian, for putting up with a cranky, overworked mom during this process, the many weekends we didn’t go to the beach because I was writing, and the many quickie meals I put on the table when time was tight. I thank you for the hugs, and for being impressed that I had managed to produce two hundred whole pages in five years. I reserve my deepest and most profound gratitude to Andrew Koehler Wiedlea, PhD, who not only redirected serious family resources to help me squeak through this process, helped me keep things in perspective, took me out for Vietnamese food when I just couldn’t write any more, watched BBC with me when my brain hurt, and generally reminded me that yes, it is painful, but it is do- able. I owe you everything. Without you this would never have happened. v FEMMAGE AND THE DIY MOVEMENT: FEMINISM, CRAFTY WOMEN, AND THE POLITICS OF GENDER PERFORMANCE By Rosemary L. Sallee AB American Culture, Vassar College, 1992 MA American Studies, University of New Mexico, 2003 Ph.D, American Studies, University of New Mexico, 2016 ABSTRACT Through a variety of lenses, contemporary crafting is examined as a complex and contradictory gender and class performance that serves as a form of communication among women that both enables and contains oppositional and gender role explorations. Crafting is created through myriad texts which transform into an individual form of expression, a societal spectacle, a fashion trend, a subculture, an addiction, a coping mechanism, an oppositional act, and a means of healing both physically and emotionally. This study investigates how the objects women make and collect reflect and define crafters’ negotiations between personal desires and public personas, help them voice their own identities, tell their own stories, and connect with – or distance themselves from – other generations of “crafty women.” The role of objects and their multiple meanings in individuals’ lives is examined. Specifically, how objects narrate gender identity and debates, are evidence of resistance to dominant gender and class narratives, enable acceptance of economic and gender norms, and incorporate aesthetics and consumption. vi TABLE OF CONTENTS CHAPTER I - From Retail Therapy to Apartment Therapy: Crafting Narratives About Gender and Class Introduction 1 Key Scholarly Texts and Theoretical Approaches 7 Threads of Change? Marxism, Politics and the Do-it-Yourself (DIY) Movement 12 From the “Terrain of Culture” to “Aspects of Selfhood”: Objects in Private 18 Methodology and Demographics 23 Connecting Threads: Themes and Leitmotifs, Different Faces of Crafting 32 CHAPTER II - “It’s not immoral, illegal or fattening, and it’s cheaper than a psychologist!” Crafters, Collecting, and the Pleasure and Pathology of the “Stash” Introduction 41 Understanding the Collection: Theory and Practice 46 “Body and Soul Together”: Crafting, Class, and Tradition 51 Crafting and Communities of Consumption 61 “Fables” and “Fabrics”: Crafters and Anti-Materialism 64 Conclusion 70 CHAPTER III - Scrapping Feminism? Scrapbooking as Consumption, Collection and Construction Introduction 74 The Scrapbook as Consumption, Collection and Construction 77 The Hierarchy of Public and Private, and the Politics of High and Low 82 vii Scrapbook as “Femmage”: Feminist Possibilites 86 Scrapbooking and the Single Girl: A Personal Archive 92 Sentimental Indoctrination: Scrapbooking as Public Archive 95 Conclusion 102 CHAPTER IV - Stitch–n–Bitch: Conversations about Gender, Spectacle, and Opposition Introduction 107 Generational Debates and Class Dynamics 111 Objects and Opposition 113 Crafting as Debate: Gender Roles and “Verbal Art” Among Second Wave Quiltmakers 118 The Visual Language of Opposition: Inserting the Female into a Male World 123 “Aspects of Selfhood”: Personal Aesthetics, Identity & Biography
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